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    讀書可以經(jīng)歷一千種人生

You can experience a thousand lives by reading a book

世界讀書日 特別推薦版

World Book Day Special Edition

 VOL.1

《麗人行：中國(guó)古代女性圖像》

作者: 蔡琴
出版社: 上海書畫出版社

　　本書按照歷史順序，分為五代、北宋和南宋三個(gè)時(shí)期，解讀了近 30 位名家、近 100 幅傳世經(jīng)典畫作，探究了山水、花鳥、人。隨著女性主義浪潮的一波波涌起，在博物館和美術(shù)館中，女性的聲音和身影以各種方式出現(xiàn)在觀眾面前，其中，女性博物館和以女性為主題的展覽無疑是最為重要的部分。浙江博物館策劃的“麗人行——中國(guó)古代女性圖像展”為博物館女性展覽打開了獨(dú)特局面。分三大繪畫類別由技入藝以至于境的發(fā)展過程；講述個(gè)體與王朝相互勾連，命運(yùn)與天才相激共振的歷史事件。創(chuàng)作體例上，賞析與評(píng)傳結(jié)合；方法上，審美與思辨兼濟(jì)。作者試圖以此建構(gòu)新的中國(guó)藝術(shù)史，這是一部思想、藝術(shù)、文化、美學(xué)、文學(xué)交織的更大的人文作品。讀過本書，或許你還會(huì)發(fā)現(xiàn)，去藝術(shù)中開拓文化的江山，是一個(gè)好去處。追求自由，構(gòu)建獨(dú)立人格，安頓自己，這是對(duì)中國(guó)文化和自我的一次美的救贖。美，是引人向上的終極力量。

"With the rising tide of feminism, women’s voices and figures are appearing in museums and galleries in a variety of ways, of which women’s museums and women-themed exhibitions are undoubtedly the most important part. The Zhejiang Museum’s exhibition ’Li Ren Xing - Images of Ancient Chinese Women’ has opened up a unique situation for women’s exhibitions in museums.

 VOL.2

《犬儒主義》

作者: [英]安斯加·艾倫
出版社: 商務(wù)印書館

　　繼《虛無主義》后，“交界譯叢”又一力作！徐賁、徐英瑾 推薦,每個(gè)人或許都有自己的“犬儒時(shí)刻”，是屈服于心中的“黑暗面”，還是撥開迷霧，迎接真相？還原犬儒主義的真面目，激活思想潛流的真精神。認(rèn)識(shí)犬儒主義，重識(shí)時(shí)代，直面自我！

After Nihilism, another masterpiece in the Junction Translation Series!Recommended by Xu Ben and Xu Yingjin. Everyone may have his or her own "cynical moment". Do you give in to the "dark side" of your mind, or do you lift the fog and welcome the truth? The true face of cynicism is restored and the true spirit of the undercurrent of thought is activated.Recognise cynicism, reconnect with the times and confront yourself!

 VOL.3

《流動(dòng)不居》

作者: [德]鮑里斯·格羅伊斯
出版社: 重慶大學(xué)出版社

　　在這部重要的著作中，格羅伊斯描繪了這種張力產(chǎn)生的悖論，探索了無物品媒介（互聯(lián)網(wǎng)）時(shí)代的藝術(shù)。格羅伊斯斷言，如果說機(jī)械復(fù)制給了我們沒有靈暈的物品，那么數(shù)字復(fù)制生成的便是沒有物品的靈暈，其所有物質(zhì)性都轉(zhuǎn)化成當(dāng)下之短暫易逝的標(biāo)志。

In this important work, Groys charts the paradoxes created by this tension, exploring art in the age of the objectless medium (the Internet). Groys asserts that if mechanical reproduction gives us objects without auras, then digital reproduction generates auras without objects, with all their materiality transformed into the fleeting signs of the present.

 VOL.4

《精靈》

作者: [美] 西爾維婭·普拉斯

出版社: 北京聯(lián)合出版公司

　　《精靈》是普拉斯的最后遺作，風(fēng)格獨(dú)具，技巧純熟，憂郁的氣質(zhì)和哀愁的情調(diào)彌漫其間。由陳黎與張芬齡翻譯的完整版《精靈》所收詩(shī)作包括兩部分：“普拉斯親訂本”四十一首與“休斯編輯本選入詩(shī)”十四首，另附普拉斯詩(shī)中譯七首及為BBC 廣播節(jié)目“普拉斯新詩(shī)作”所寫文稿。力圖全面呈現(xiàn)普拉斯關(guān)于生之欲望與死之藝術(shù)的絕唱。

The Genie is Plath’s final work, unique in style and virtuosity, with a melancholy and melancholy mood. The complete edition, translated by Chen Li and Zhang Fenling, contains two parts: forty-one poems in Plath’s own edition and fourteen poems in Hughes’s edited version, together with seven translations of Plath’s poems and a contribution to the BBC radio programme "The poems are accompanied by seven translations of Plath’s poems and a contribution to the BBC radio programme ’New Poems by Plath’. It is an attempt to present the full range of Plath’s masterpiece on the desire to live and the art of dying.

 VOL.5

《改變世界的17個(gè)方程》

   作者: [英]伊恩·斯圖爾特
   出版社: 人民郵電出版

　　方程是世界的基本法則，改變了人類的命運(yùn)，從波動(dòng)方程、麥克斯韋方程組，到用于預(yù)測(cè)金融市場(chǎng)的布萊克–斯科爾斯方程，方程在生活中無處不在。畢達(dá)哥拉斯定理如何催生全球衛(wèi)星定位系統(tǒng)？對(duì)數(shù)如何在建筑學(xué)中發(fā)揮應(yīng)用？虛數(shù)為何對(duì)數(shù)碼相機(jī)的發(fā)展至關(guān)重要？薛定諤的貓到底發(fā)生了什么？本書選取17個(gè)對(duì)人類社會(huì)產(chǎn)生重要影響的方程，以生動(dòng)有趣的筆觸講述了它們背后的歷史故事，以及它們?nèi)绾瓮苿?dòng)了人類文明的發(fā)展，并從數(shù)學(xué)的角度對(duì)地球萬物進(jìn)行了獨(dú)創(chuàng)性的探索與闡釋。

Equations are the fundamental laws of the world and have changed the destiny of mankind. From the fluctuating equations and Maxwell’s system of equations to the Black-Scholes equations used to predict financial markets, equations are everywhere in life. How did Pythagoras’ theorem give rise to the Global Positioning System? How can logarithms play an application in architecture? Why were imaginary numbers crucial to the development of digital cameras? What really happened to Schr?dinger’s cat? This book takes 17 equations that have had a significant impact on human society and tells the historical stories behind them in lively and entertaining strokes, and how they have driven the development of human civilisation, as well as providing an original exploration and interpretation of everything on Earth from a mathematical perspective.

 VOL.6

《規(guī)則的悖論》

作者: 大衛(wèi)·格雷伯
出版社: 中信出版集團(tuán)

　　從職稱評(píng)審、抵押貸款，到申請(qǐng)辦公設(shè)備甚至出行購(gòu)票的流程，五花八門的規(guī)定可以讓我們填寫無數(shù)張表格，在流程的提交與退回中反復(fù)摩擦，當(dāng)每天的生活從填表開始，我們不禁困惑：真的需要這么多流程嗎？人類學(xué)家大衛(wèi)?格雷伯犀利道出真相，在本書的三篇論文中分別從暴力、技術(shù)與理性的角度揭開制造愚蠢規(guī)則的根源，更挑明人們離不開它的真實(shí)原因。但知道這一切并不讓人悲觀，因?yàn)楦窭撞矆?jiān)定地指出了被忽略的終極規(guī)則：世界是由我們創(chuàng)造的，而我們有能力改造它。

The first chapter of this book is a survey of scholarly thinking and research on the relationship between Italian Renaissance art and the ’Orient’ from the end of the nineteenth century to the present, with the author focusing on the ’image of the Orient’ as an undercurrent that has always been present in this historical ocean. The second chapter will first discuss the dissemination and reception of images of the Orient. On the one hand, Western European painters may have acquired their knowledge of the appearance and attire of the Orient from a variety of sources, such as Oriental travelogues, chronicles and images from Central Asian codices. On the other hand, the variety in the images of the Orient reveals the memories and emotions of the people. Chapters 3 to 7, the core of the book, focus on the narrative language and function of Oriental images themselves, and how they embrace and integrate new images. The focus is on exploring the different roles played by such alien images in a number of traditional themes as they entered Western European society. Five separate and interconnected case studies are included, centred on two chronicle illustrations, two groups of council chamber frescoes, and two painting themes, which essentially cover several basic types of Oriental imagery in 13th-14th century European painting, presenting five different ’portraits’.

 VOL.7 

《亞文化》

作者: [英]迪克·赫伯迪格
出版社: 廣西師范大學(xué)出版社

　　亞文化的意義總在爭(zhēng)議之中，而在對(duì)其風(fēng)格的不同定義里，我們看到最為激情的碰撞。本書是關(guān)于青年亞文化的奠基著作之一，也是第一本以朋克文化為主題的系統(tǒng)性研究著作。從安全別針、尖頭鞋、摩托車的流行到朋克、雷鬼樂、華麗搖滾的興起，作者以生動(dòng)的歷史敘事結(jié)合結(jié)構(gòu)主義、后結(jié)構(gòu)主義、符號(hào)分析等理論方法，深入剖析亞文化的功能、來源、抵抗與收編方式，探索青年亞文化與社會(huì)階層之間的關(guān)系和對(duì)時(shí)代的意義。

The meaning of subculture is always in dispute, and it is in the different definitions of its genre that we see the most passionate collisions. This book is one of the seminal works on youth subcultures and the first systematic study of punk culture. From the popularity of safety pins, pointy shoes and motorbikes to the rise of punk, reggae and glam rock, the author uses a vivid historical narrative combined with theoretical approaches such as structuralism, post-structuralism and symbolic analysis to provide an in-depth analysis of the functions, sources, resistance and ways of collecting subcultures, exploring the relationship between youth subcultures and social classes and their significance to the times.

 VOL.8

《食人資本主義》

作者: [美]南?！し鹄诐?br>

出版社: 上海人民出版社

　　南希·弗雷澤在這本書中揭示了這一切的原因：這顆星球正在被逐漸摧毀，原因無他，只因我們陷入了“食人資本主義”！資本主義像一條貪婪的銜尾蛇，它正在吞噬我們的社會(huì)，資產(chǎn)階級(jí)就像食人族，以啃食我們的同類為生。在本書中，當(dāng)代著名政治哲學(xué)家南希·弗雷澤犀利地指出：資本主義不是一種經(jīng)濟(jì)類型，而是一種社會(huì)類型，資本主義制度默許社會(huì)把財(cái)富盛在盤子里提供給企業(yè)階層，邀請(qǐng)他們利用我們的創(chuàng)造力和我們賴以生存的地球吃飯，但卻覺得自己沒有義務(wù)補(bǔ)充他們消耗的東西或修復(fù)他們破壞的東西。因此，南希·弗雷澤在本書中得出結(jié)論：資本主義才是我們當(dāng)今社會(huì)不穩(wěn)定和危害的根源，它造成整個(gè)社會(huì)秩序的普遍危機(jī)，當(dāng)所有災(zāi)難匯集在一起，彼此加劇，就有可能將我們?nèi)客淌伞?/p>

In this book, Nancy Fraser reveals the reason for all this: the planet is being gradually destroyed for no other reason than our descent into "cannibalistic capitalism"!

Capitalism is like a ravenous snake with a tail that is devouring our society, and the bourgeoisie is like a cannibal that feeds on our own kind. In this book, the renowned contemporary political philosopher Nancy Fraser sharply argues that capitalism is not an economic type but a social type, and that the capitalist system tacitly allows society to serve wealth on a plate to the corporate class, inviting them to feed on our creativity and the planet we depend on, but feeling no obligation to replenish what they have consumed or repair what they have destroyed.

Thus, Nancy Fraser concludes in this book that it is capitalism that is at the root of the instability and harm in our society today, creating a general crisis of the entire social order that threatens to swallow us all up when all the catastrophes come together and exacerbate each other.

 VOL.9

《文藝欣賞七論》

作者: [美]王鼎鈞

出版社: 商務(wù)印書館

　　“文章是案頭之山水，山水是地上之文章”，文學(xué)藝術(shù)和造化自然都有大美，要欣賞其志其趣，不僅需要以意感，以神通，更需要得窺門徑?！段乃囆蕾p七論》收錄了王鼎鈞先生集中談詩(shī)歌、小說、散文、戲劇、繪畫、書法、篆刻欣賞的文章，既分門別類地概括其特質(zhì)，又融會(huì)貫通地講述其精髓。一筆一畫，一皴一染，在文藝之道中展現(xiàn)的是真正的中國(guó)文化人。如他所言：“現(xiàn)實(shí)世界產(chǎn)生欲望，藝術(shù)世界產(chǎn)生美感，欲望使人煩惱，美感使人的心靈凈化。所謂美感并不是美麗漂亮，而是憑自己的直覺進(jìn)入一個(gè)圓滿的狀態(tài)?！?/p>

"The essay is the landscape on the desk, and the landscape is the essay on the ground". Both literature and art and nature have great beauty, and to appreciate their aspirations and interests, one needs not only a sense of meaning and divine communication, but also a glimpse of the path. The Seven Essays on Appreciation of Literature and Art contains articles by Mr Wang Dingjun that focus on the appreciation of poetry, fiction, prose, drama, painting, calligraphy and seal carving, outlining their qualities in a separate category and telling the essence of them in a coherent manner. A brushstroke, a stroke of paint, a chafe of colour, a true Chinese cultural being is revealed in the ways of literature and art. As he says: "The real world produces desire, the world of art produces beauty, desire troubles people, beauty purifies the mind. The so-called sense of beauty is not about being beautiful and pretty, but about entering a state of completeness with one’s intuition."

 VOL.10

《大地中國(guó)》

作者: 韓茂莉
出版社: 文匯出版社

　　歷史與地理密不可分，歷史決定思維的深度，地理決定視野的廣度?！洞蟮刂袊?guó)》是北京大學(xué)教授韓茂莉?qū)懡o大家的歷史地理通識(shí)，二十六個(gè)專題，貫通上下五千年，遍及南北東西，涵蓋了中國(guó)歷史地理的重要問題。侯仁之先生說，歷史地理是“昨天、前天的地理”，本書將歷史的時(shí)間體系納入地理空間， 依循山河地理，講述歷史上的那些事，城市、農(nóng)田、牧場(chǎng)、道路、關(guān)隘、江河、集市、寺廟，每個(gè)題目都是大地上的一塊耀斑，雖然不能涵蓋大地，卻有著地理的魅力。

History and geography are inseparable; history determines the depth of thinking and geography determines the breadth of vision. Earth China is a general introduction to historical geography written by Peking University Professor Han Maoli. Twenty-six topics, spanning five thousand years, north, south, east and west, cover important issues in Chinese historical geography.

Mr Hou Renzhi says that historical geography is "the geography of yesterday and the day before", and this book incorporates the time system of history into geographical space, following the geography of mountains and rivers to tell the story of those events in history, cities, farmlands, pastures, roads, passes, rivers, bazaars, temples, each topic is a dazzling piece of the earth, although it cannot cover the earth, but has the charm of geography.

 VOL.11

《危險(xiǎn)的邊疆》

作者: [美]托馬斯·巴菲爾德
出版社: 江蘇人民出版社

　　《危險(xiǎn)的邊疆：游牧帝國(guó)與中國(guó)》通過對(duì)兩千多年歷史時(shí)段之內(nèi)游牧帝國(guó)與中原王朝之間歷史關(guān)系的人類學(xué)考察，提出了一個(gè)解釋包括蒙古帝國(guó)在內(nèi)的游牧大帝國(guó)興盛和衰亡的政治和經(jīng)濟(jì)組織分析模式，并對(duì)中原與這些帝國(guó)的關(guān)系作了貫通性的研究。作者提出了游牧力量在與中原接觸時(shí)所交替采取的“外部邊界戰(zhàn)略”和“內(nèi)部邊界戰(zhàn)略”問題，指出游牧帝國(guó)對(duì)中原北部地區(qū)統(tǒng)治的周期律在某種程度上表現(xiàn)為一種基于集權(quán)化與分權(quán)化之上的機(jī)制性更替過程。本書為中國(guó)邊疆史研究貢獻(xiàn)了一種不同于專業(yè)史學(xué)家的新思路。

Through an anthropological examination of the historical relationship between nomadic empires and the Middle Kingdom over a period of more than two millennia, Dangerous Frontiers: Nomadic Empires and China presents an analytical model of the political and economic organization that explains the rise and fall of the great nomadic empires, including the Mongol Empire, and provides a coherent study of the relationship between the Middle Kingdom and these empires. The author raises the question of the ’external border strategy’ and the ’internal border strategy’ that nomadic forces alternately adopted when they came into contact with the Middle Kingdom, pointing out that the cyclical pattern of nomadic imperial rule over the northern regions of the Middle Kingdom was to some extent based on a process of centralisation and decentralisation This book is a contribution to the study of Chinese frontier history. This book contributes a new way of thinking to the study of Chinese frontier history that is different from that of professional historians.

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